1. Chapter 13 The High Renaissance and Mannerism in Italy
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus

2. Italy 1494

3. Leo X (1513–1521)
Son of Lorenzo the Magnificent; patronized Michelangelo and excommunicated Martin Luther.
HadrianVI (1522–1523)
Born in the Netherlands; a ferocious reformer and the last non-Italian pope until the 1970s.
Clement VII (1523–1534)
Grandson of Lorenzo the Magnificent; commissioned the Medici tombs in Florence, and The Last Judgmentfor the Sistine Chapel just before his death; excommunicated Henry VIII.
Paul III (1534–1549)
Commissioned Michelangelo to build the Farnese Palace in Rome; called the reform Council of Trent, which first met in 1545.
Julius III (1550–1555)
Patron of the composer Palestrina; confirmed the constitutions of the Jesuits in 1550; appointed Michelangelo as chief architect of Saint Peter’s.
Marcellus II (1555)
Reigned as pope for 22 days; honoree of Palestrina’s Missa Papae Marcelli.
Paul IV (1555–1559)
A fanatical reformer; began the papal reaction against the Renaissance spirit; encouraged the Inquisition and instituted the Index of Forbidden Books in 1557.

4. Popes and Patronage Vatican as center of wealth, stability
Pope Sixtus IV
Pope Julius II
Beginnings of High Renaissance (1503)
“il papa terribile”
Raphael, Michelangelo
The de’ Medici Family

5. The Visual Arts Leonardo da Vinci (1452-1519)
Mona Lisa, The Last Supper, Madonna of the Rocks
Orthogonals, chiaroscuro
Notebooks
Mathematics, natural world and humanity, love for beauty

6. 13. 3 Leonardo da Vinci, The Last Supper, 1495–1498
13.3 Leonardo da Vinci, The Last Supper, 1495–1498. Fresco, post-restoration, 14´5˝ x 28´1⁄4˝. Refectory, Santa Maria delle Grazie, Milan, Italy. Image © The Gallery Collection/CORBIS
13.3 Leonardo da Vinci, The Last Supper, , Refectory, Santa Maria delle Grazi, Milan, Italy

7. 13. 4A Leonardo da Vinci, Madonna of the Rocks, begun 1483
13.4A Leonardo da Vinci, Madonna of the Rocks, begun Musee du Louvre, Paris, France
13.4A Leonardo da Vinci, Madonna of the Rocks, begun Panel painting transferred to canvas, 78˝ x 48˝ (198.1 x cm). Musée du Louvre, Paris, France//© Scala/Art Resource, NY

8. 13. 5 Leonardo da Vinci, Mona Lisa, 1503-1505
13.5 Leonardo da Vinci, Mona Lisa, Musee du Louvre, Paris, France
13.5 Leonardo da Vinci, Mona Lisa, c. 1503–1505. Oil on wood, approx. 30˝ x 21˝ (76.2 x 53.3 cm). Musée du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

9. The Visual Arts Raphael Sanzio (1483-1520)
From Urbino to Perugia
Apprentice to Perugino
From Perugia to Florence (1505)
Madonna of the Meadow (1508)
Pyramidal configuration
Rationally ordered
Modeling of human forms
Human quality of the divine figure

10. 13.7 Raphael, Madonna of the Meadow, 1508, Kunsthistorisches Museum, Vienna, Austria
13.7 Raphael, Madonna of the Meadow, Oil on panel, 441⁄2˝ x 341⁄4˝ (113 x 87 cm). Kunsthistorisches Museum, Vienna, Austria//© Erich Lessing/Art Resource, NY

11. The Visual Arts Raphael Sanzio (1483-1520)
From Florence to Vatican (1508)
School of Athens ( )
Symbolic homage to philosophy
Renaissance ideal
Balance of philosophy and theology

12. 13. 8A Raphael, Philosophy (School of Athens), 1509-1511
13.8A Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Vatican State, Italy
13.8A Raphael, Philosophy (School of Athens), 1509–1511. Fresco, 26´ x 18´ (7.92 x 5.48 m). Stanza della Segnatura, Stanze di Raff aello, Vatican Palace, Vatican State//© Erich Lessing/Art Resource, NY

13. The Visual Arts Lorenzo de’ Medici Michelangelo Buonarroti (1476-1564)
Pietá
Michelangelo’s David
Statement of idealized beauty
Palazzo Vecchio: symbol of civic power

14. Pieta 1498-9, marble St. Peter’s Vatican Rome

15. 13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy
12.17 Michelangelo, David, 1501–1504. Marble, 18´ (5.49 m) high. Accademia di Belle Arti, Florence, Italy//© Erich Lessing/Art Resource, NY

16. The Visual Arts Michelangelo Buonarroti (1475-1564)
Tomb for Pope Julius II
Moses ( )
Divine fury, divine light
Terribilità

17. 13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy
13.11 Michelangelo, Moses, 1513–1515. Marble, 8´4˝ (2.54 m) high. San Pietro in Vincoli, Rome, Italy//© Scala/Art Resource, NY

18. The Visual Arts Michelangelo Buonarroti (1475-1564)
The Sistine Chapel
“Michelangelo, Sculptor”
Architectural and thematic motifs
Interpretation
Neo-Platonism
Old Testament and pagan prophets
Complex tree symbolism
Human wisdom + God’s revelation

19. 13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy
13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508–1511. Fresco, 44´ x 128´ (13.44 x m), Sistine Chapel, Vatican Palace, Vatican State. Image © Erich Lessing/Art Resource, NY

20. 13. 13 Michelangelo, Creation of Adam, 1508–1512
13.13 Michelangelo, Creation of Adam, 1508–1512. Ceiling fresco, detail, c. 8´ x 9´2˝ (2.44 x 2.8 m), Sistine Chapel, Vatican Palace, Vatican State. Image © Erich Lessing/Art Resource, NY
Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, , Vatican Palace, Vatican State, Italy

21. The Visual Arts Michelangelo Buonarroti (1475-1564)
Michelangelesque
Masculine anatomy, musculature
Physical bulk, linear grace, emotionality
Creation of Adam ( )
The Last Judgment ( )
Medici Chapel
Architectural and sculptural design
Life, death, resurrection

22. 1534-41 The Last Judgement, fresco, Sistine Chapel, Vatican.

24. Michelangelo, Night, , detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy
13.16

25. The Visual Arts Michelangelo Buonarroti (1475-1564)
The New Saint Peter’s
Donato Bramante ( )
Tempietto
Michelangelo as architect (1546)
Bramante’s plan
Ribbed, arched dome
Drum to support dome

27. Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666
Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact plan of a Greek cross with arms or transepts (b) of equal length meeting at a central altar (a) set under a dome, with each arm ending in a semicircular apse (e) opening to a portal or entrance (c), and including several chapels (d) for smaller services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a Latin cross, adding Raphael’s choir (f) to surround the altar on three sides, closing the portals in favor of a formal entrance (c), and forming a nave (g) from the arm proceeding from a huge vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564, rejected Sangallo’s design and returned to a centralized domed Greek cross inscribed within a square but retained the vestibule (c), now fronted by a portico with giant columns. (IV) Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with elongated nave (g), narthex (h), portico (c), and Baroque façade. This plan also shows Gian Lorenzo Bernini’s piazza (j) with colonnades, 1656–1667. Maderna’s final additions, especially the elongated nave, narthex, and large façade, obscured Michelangelo’s original design. Artwork by Cecilia Cunningham.

28. The High Renaissance in Venice
Andrea Palladio
Classical Architecture of Greece reflected through Roman structures
Four Books of Architecture (1570)
Palazzo Chiericati
Harmony and balance

29. Andrea Palladio Palazzo Chiericati begun 1550s. Vicenza, Italy.

30. The High Renaissance in Venice Painting
Tradition of easel painting
Use of oil paints
Brilliance of color
Subtlety of light
Eye for close detail
Love of landscape

31. The High Renaissance in Venice Painting
Titian (c )
Assumption of the Virgin ( )
Venus of Urbino (1538)
Tintoretto ( )
“The drawing of Michelangelo and the color of Titian.”
The Last Supper

32. 13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy
13.20 Titian, Venus of Urbino, Oil on canvas, c. 3´11˝ x 5´5˝ (1.19 x 1.62 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY

33. 1592-94, Tintoretto, The Last Supper, oil on canvas, San Giorgio Maggiore, Venice, Italy.

34. Mannerism Characteristics of Mannerism
Distortion and elongation
Flattened, two-dimensional space
Lack of a defined focal point
Discordant pastel hues
Jacopo Carucci da Pontormo ( )
Deposition (c. 1528)
Il Bronzino
Venus, Cupid, Folly, and Time (The Exposure of Luxury)

35. Jacopo Pontormo (born Carucci), Entombment, 1525–1528
Jacopo Pontormo (born Carucci), Entombment, 1525–1528. Oil on panel, 123″ × 76″ (312.4 × 193 cm). Capponi Chapel, Santa Felicità, Florence, Italy.

36. Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England
13.23

37. Mannerism Lavinia Fontana (1552-1614)
Daughter of Bolognese painter
Portrait painter (Rome, Bologna)
Exaggerated angles, use of color
Sofonisba Anguissola (1532?-1624)
Renaissance and Baroque masters
Pictorial representations
Contrasts of dark and light

38. 13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

39. 13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

40. Mannerism Giovanni da Bologna (1529-1608) El Greco (1541-1614)
Sculptor
Abduction of the Sabine Women
El Greco ( )
Distortion of figures and ambiguous space
The Burial of the Count of Orgaz

41. Giovanni da Bologna, Abduction of the Sabine Women, ca. 1581–1583
Giovanni da Bologna, Abduction of the Sabine Women, ca. 1581–1583. Marble, 13′5″ (409 cm) high. Loggia dei Lanzi, Florence, Italy.

42. 13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

43. Music in the Sixteenth Century
Music at the Papal Court
Sistine Choir and Julian Choir
Male voices, a capella
Josquin des Prez (c )
Sistine Choir, composer and director
Motet for four voices
Structure, balance, lyrical quality

44. Music in the Sixteenth Century
Music at the Papal Court
Giovanni Pierluigi da Palestrina ( )
Choirmaster of capella Guilia (Julian choir)
Vatican’s music director
Conservative masses in response to Catholic reform movement

45. Music in the Sixteenth Century
Venetian Music
Adrian Willaert
Andrea and Giovanni Gabrieli
Church of St. Mark
Split choirs
Instrumental music in liturgy
Intonazione, toccata
Intellectual influence of Italian humanism

46. Literature Leonardo da Vinci Michaelangelo Buonarroti Vittoria Colonna
13,000 pages of notes
Michaelangelo Buonarroti
Poetry
Vittoria Colonna
Baldassare Castiglione
The Book of the Courtier
Veronica Franco
Benvenuto Cellini

47. Worcester Museum of Art, Worcester, Mass.
Tintoretto, 
Veronica Franco,
late 16th century.
Oil on canvas, 18″ × 24″ (46 × 61 cm).
Worcester Museum of Art, Worcester, Mass.
13.28 Raphael, Baldassare Castiglione, c Oil on panel, transferred to canvas, 291⁄2˝ x 251⁄2˝ (75 x 65 cm). Museé du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

48. Compare & contrast

49. Compare & contrast

50. Compare/ contrast

51. Investigations

52. Chapter Thirteen: Discussion Questions
Compare the artistic developments that took place in Rome and those that took place in Venice. To what can we attribute the differences? Explain.
To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and works.
How did environmental factors and geography contribute to Venetian art during the Renaissance? Consider both visual and aural arts in your discussion.